I started clapping as the curtains drew to a close. We've been clapping at performers for a few thousand years now. Far-be-it for me to be the first one to stop. Besides, I had enjoyed the show and felt that I should take part in this mass eruption of gratitude for the thing we had just seen. So, like everyone else, I started pounding my hands against each other.
The art of applause is one that most people seem to gloss over. Take right now for instance. The actors have come out and taken their bow. I feel that I've applauded enough. It wasn't a huge play. The venue was kind of small too. There's maybe a hundred people in here. But everyone else keeps on clapping. "How many are friends of the actors," I think to myself. Probably quite a few. I look around trying to judge how much energy the crowd has. A lot, apparently. The hand pounding goes on for another few moments. My palms are starting to get sore so I shift position a little. The mob sounds like they're going to die out soon. Thank god. I'd rather not look like the one ass who stopped before everyone else. But then, just as we're about to drop below that minimum decibel of applause, one person decides to pick it up again and the crowd is rejuvenated. The actors come out again and take a second bow. Oh boy.
I wonder if someone is going to start a standing O. Looking around I notice three or four middle aged people near the front. Probably the parents of the young actor who had a minor role in the second act. Sitting bolt upright and clapping vigorously. Sure enough, they get up. Here we go. Slowly at first people follow suit, standing and reinvigorating their clapping. Then almost everyone gets up. They get up awkwardly and a little confused, not really knowing why they're getting up but not wanting to be left sitting when the inevitable third bow takes place. As expected, once everyone is on their feet, the actors return to the stage, bowing and blowing kisses to the audience. A few of the actors have forced smiles, especially the leads who have seen a dozen mediocre performances bring the audience to their feet. Maybe they think about this kind of thing too. My guess is they try not to.
The curtains close again and within five seconds the room is silent. All the appreciation and enthusiasm might as well never have been there as people search for their coats and file out of their seats. I start to wonder if maybe these freely-given standing ovations are a way for the audience to perform; to vent the envy that we might have after experiencing real performers working their craft. "Look at me" they say with their sounds of skin on skin and willingness to leave the comfort of their seat, "I can express myself too. As good as any of you." The thought doesn't last long. Soon I'm being pushed and crowded out the door at the mobs pace, and man, are they in a hurry.
Monday, February 15, 2010
Friday, February 05, 2010
Derek Bailey's Carpal Tunnel
Not all the music I listen to is stuff I find pleasant. "Rewarding" is probably a better term for it. It involves music that deviates from the normal structure or conducts experiments with sound in other interesting ways. In this area, Derek Bailey is an artist I find rewarding who has done quite a lot to experiment with what an acoustic guitar can do. While most people are probably unfamiliar with Bailey's work he really was quite a large influence on artists like Sonic Youth, Pat Metheny and Wilco (once guitarist Nels Cline joined). People call his music "free jazz" or "avant-garde" or any of those other terms that are more sophisticated ways of saying it doesn't sound like real songs. Regardless of how you want to categorize him, Bailey is doing something different and doing it well. One of his last albums, Carpal Tunnel, is an excellent example of why this kind of music is worth knowing about.
Carpal Tunnel is actually a pretty tragic album. The last one released before his death in 2005, Carpal Tunnel tells the story of what Bailey did when he learned that he had Carpal Tunnel Syndrome in his right hand. He could have gotten surgery but instead he took the opportunity to learn how to play all over again. All of this is explained in a rather rambling introductory track in which he explains how he can no longer hold a plectrum (or guitar pick to the rest of us) and has decided that it would be more interesting to learn to live with Carpal Tunnel rather than get surgery. The other 5 tracks are titled after how long he has been practicing with his new disability; 3, 5, 7, 9 and 12 weeks. It's pretty standard Bailey stuff if you know what that is but performed with increasing sophistication, accuracy and comfort.
One of the reasons this album is so interesting is that it's effectively a documentary on overcoming obstacles. Even by the 7 week track you can hear a remarkable improvement and fluidity to the music. It's like watching someone learn to walk again. It's also amazing to hear him construct his sound again and what elements that includes. Hearing what Bailey sounds like while he's stumbling then following his progress to regaining his talent is a fascinating way to identify what makes his sound so unique in the first place.
While certainly not an album for everyone (probably not even an artist for everyone) Carpal Tunnel does a great job of showing why experimentation of this type is worth paying attention to. It helps you think about why music evokes certain emotions and attitudes and shows that atonal music can be rewarding. It is also a compelling view into the process of reclaiming something important to you when you can no longer do it.Maybe you won't like it but you should at least know that it exists.
Links:
Laura from Ballads
Free Improv
Carpal Tunnel is actually a pretty tragic album. The last one released before his death in 2005, Carpal Tunnel tells the story of what Bailey did when he learned that he had Carpal Tunnel Syndrome in his right hand. He could have gotten surgery but instead he took the opportunity to learn how to play all over again. All of this is explained in a rather rambling introductory track in which he explains how he can no longer hold a plectrum (or guitar pick to the rest of us) and has decided that it would be more interesting to learn to live with Carpal Tunnel rather than get surgery. The other 5 tracks are titled after how long he has been practicing with his new disability; 3, 5, 7, 9 and 12 weeks. It's pretty standard Bailey stuff if you know what that is but performed with increasing sophistication, accuracy and comfort.
One of the reasons this album is so interesting is that it's effectively a documentary on overcoming obstacles. Even by the 7 week track you can hear a remarkable improvement and fluidity to the music. It's like watching someone learn to walk again. It's also amazing to hear him construct his sound again and what elements that includes. Hearing what Bailey sounds like while he's stumbling then following his progress to regaining his talent is a fascinating way to identify what makes his sound so unique in the first place.
While certainly not an album for everyone (probably not even an artist for everyone) Carpal Tunnel does a great job of showing why experimentation of this type is worth paying attention to. It helps you think about why music evokes certain emotions and attitudes and shows that atonal music can be rewarding. It is also a compelling view into the process of reclaiming something important to you when you can no longer do it.Maybe you won't like it but you should at least know that it exists.
Links:
Laura from Ballads
Free Improv
Wednesday, February 03, 2010
Fortis Development Plan
St. John's, Newfoundland is a city that ferociously holds on to it's history. Its citizens, indeed many Newfoundlanders, will come out in force to defend the aesthetic value of their town. The row house; the crazy colours, the view of the ocean; all this is part of the "look" that so many people defend when a new development project comes and tries to add something to the downtown area.
Enter the controversy.
Fortis, a real-estate holding company that was established and has its head office in St. John's, wants to update one building (seen here) and build a new building next to it (this section, from the school of dance back to the current Fortis building). This is where it gets complicated. People don't want taller buildings in that area, further cutting off the view of the harbour. They also don't want the current buildings, many of which have had businesses operating out of them for decades, demolished. Many commentators say that Fortis simply CANNOT build there due to zoning regulations which cap the height of a building at four stories. Anyone who has been downtown knows that this rule is garbage. If you look across the street from the current Fortis building you'll notice a fairly tall 12+ story building. Other criticisms involve ruining the current viewscape and adding eyesores to an increasingly corporate downtown core.
The issue I'm most concerned about in this case is how St. John's is supposed to allow growth while still fostering culture. Many people will cite development projects in other cities (Halifax for example) that have ruined a vibrant downtown community by forcing out smaller character adding retail and restaurant locations. This is a valid criticism and if the Fortis expansion goes ahead the stores involved may have nowhere to go. The city of St. John's has already doomed many interesting stores through hamfisted city-works projects that destroy foot traffic in many areas. On the other hand there are many eyesores in downtown St. John's that have been rotting for decades and will never function again without massive renovations.
I'm not sure what's worse. St. John's stagnating or St. John's losing itself through development.
Enter the controversy.
Fortis, a real-estate holding company that was established and has its head office in St. John's, wants to update one building (seen here) and build a new building next to it (this section, from the school of dance back to the current Fortis building). This is where it gets complicated. People don't want taller buildings in that area, further cutting off the view of the harbour. They also don't want the current buildings, many of which have had businesses operating out of them for decades, demolished. Many commentators say that Fortis simply CANNOT build there due to zoning regulations which cap the height of a building at four stories. Anyone who has been downtown knows that this rule is garbage. If you look across the street from the current Fortis building you'll notice a fairly tall 12+ story building. Other criticisms involve ruining the current viewscape and adding eyesores to an increasingly corporate downtown core.
The issue I'm most concerned about in this case is how St. John's is supposed to allow growth while still fostering culture. Many people will cite development projects in other cities (Halifax for example) that have ruined a vibrant downtown community by forcing out smaller character adding retail and restaurant locations. This is a valid criticism and if the Fortis expansion goes ahead the stores involved may have nowhere to go. The city of St. John's has already doomed many interesting stores through hamfisted city-works projects that destroy foot traffic in many areas. On the other hand there are many eyesores in downtown St. John's that have been rotting for decades and will never function again without massive renovations.
I'm not sure what's worse. St. John's stagnating or St. John's losing itself through development.
Tuesday, February 02, 2010
That's a guy who really loves his job
While doing some research today I came across this individual in the Auditor General of Newfoundland and Labrador's Report to the House of Assembly. For anyone who can't be bothered to find out what that is, it's a document that evaluates how the provincial government has been spending money over the past year and makes recommendations on how money can be saved or used more effectively.
This person DOUBLED their annual salary through overtime work. Not only that, there's this individual. TOIL is "Time off in Lieu" which is when you take time off instead of being paid for overtime:
Are they machines or fraudsters? Whatever the case I bet they have an interesting story to tell.
Link:
http://www.ag.gov.nl.ca/ag/sumBooklet/2009Summary/Summary2009.pdf
A marine engineer at the Department of Transportation
and Works has been paid overtime totalling $303,000
for the five year period 2005 through to 2009 as
follows: 2005 - $31,000; 2006 - $42,000; 2007 -
$69,000; 2008 - $58,000; and 2009 - $103,000. This
employee’s regular pay during this period was
$296,000; therefore, this employee received $599,000
from the regular pay and overtime during this five year
period and received 102% of their regular pay in
overtime payments.
This person DOUBLED their annual salary through overtime work. Not only that, there's this individual. TOIL is "Time off in Lieu" which is when you take time off instead of being paid for overtime:
The regional manager of one of the Arts and Culture
Centres at the Department of Tourism, Culture and
Recreation had accumulated TOIL of $163,000 as at 31
March 2009. During the four-year period 2006 through
to 2009, this employee accumulated $88,000 as
follows: 2006 - $28,000; 2007 - $16,000; 2008 -
$19,000; and 2009 - $25,000. This employee’s annual
salary for 2009 was $55,000; therefore, this employee
had accumulated TOIL equal to 296% of their annual
salary.
Are they machines or fraudsters? Whatever the case I bet they have an interesting story to tell.
Link:
http://www.ag.gov.nl.ca/ag/sumBooklet/2009Summary/Summary2009.pdf
Subscribe to:
Posts (Atom)
